The Bible Lands Museum Jerusalem is proud to host the international premier exhibition of
INSPIRED – Manel Alvarez on the Bible. The Bible Lands Museum is primarily a Museum of
ancient art and history, situated in the modern heart of Jerusalem, the Holy City. Focusing on the art
and archaeology of the lands of the Bible, the Ancient Near East; the Museum displays Israel’s most
important collection of antiquities from the dawn of civilization to the Early Christian era.
Contemporary art at the Bible Lands Museum is a rare, even unusual occurrence, with the last modern
exhibition It Begins with One – Sculptures by David Zundelovitch, displayed in 2002. However, the
present-day relevance of the Museum’s ancient exhibitions and rich cultural and educational programs
that accompany them, bring the importance of ancient history to the forefront. Therefore, keeping us
true to the motto of the late Founder of the BLMJ, Dr. Elie Borowski, who said,
“the future of mankind has its roots in the past
and only through understanding our history
can we build a better future”
The opportunity to present this exhibition was first presented to me in August 2010. The powerful
images as seen in preliminary photographs and sketches required a visit to the studio of Manel Alvarez
to see the works personally. Nothing quite compares to the strength of the works in person. We
immediately began to explore how we could bring this exhibition to Jerusalem to be appreciated by as
broad an audience as possible.
Throughout history, biblical stories have served as inspiration for countless artists. Our goal was to
incorporate the sculpture as an exploration of biblical themes as reflected in one artist’s powerful
interpretation of the Bible.
Jerusalem is an extraordinary city whose historical and religious significance place it as one of the
most important cities of the world. It stands at the crossroads of ancient and contemporary; no
better exampled than by the Bible Lands Museum itself which sits in the heart of Museum Row and
displays the most important witnesses to the development of civilization and the history of this region:
its priceless collection of Ancient art and archaeology. It is no wonder that Manel Alvarez wanted
Jerusalem and the Bible Lands Museum to be the first stop on what he hopes will be an international
tour.
Manel Alvarez eloquently expresses the strength and power of the Bible through his sculpture. The
magnificence of the Tower of Babel, standing awe inspiring at 10.5 meters high, is balanced by his
interpretation of the Twelve Tribes of Israel as seen in a variety of sculptures. The dichotomy of The
Tree of Life as opposed to The Tree of Knowledge touches on the very essence of human nature and our
progress from the Garden of Eden to today.

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We are very proud to be able to launch this exhibition in Jerusalem and would like to thank the many
individuals who have helped to bring this dream to fruition. We are grateful to Esti Drori and Doron
Polak of Artura for bringing us together and for curating the exhibition at the Bible Lands Museum. I
would like to thank the entire staff of the BLMJ, in particular Ragheda Kashkoush for translating all of
the panels and labels into Arabic for the exhibition and to Roni Bar Sheshet for assisting with the design
execution in the Museum; my deepest gratitude to Tamir Freund for solving even the most difficult
challenges and turning problems into solutions.
This exhibition would not have been possible without of the gracious presence and attention to detail
of Linda Malisani, dedicated wife of Manel Alvarez who worked tirelessly to keep this project moving
forward.
We would like to thank all those whose support for this exhibition and catalog made it possible to bring
the exhibition to Israel.
And most importantly, I would like to thank the artist, Manel Alvarez for his tremendous work reflected
in this exhibition and catalog. Manel Alvarez proves that there is no limit to the creative inspiration that
the Bible can provide.
Amanda Weiss

Director
Bible Lands Museum Jerusalem
Jerusalem, April 7, 2011

9

Inside out

When I began to work on this collection of sculptures inspired in the Old Testament, I did so with the
excitement and uncertainly that always come when embarking on a new venture: You never know where
it will take you or what consequences it will have.
After these years of intense work, constant research, economic and emotional challenges,
discouragements and disappointments, I have to confess that this is the project that has enriched me
the most in every aspect. Intellectually I feel strengthened and, yes, now I am completely convinced
that the election of this theme was a wise choice. The emotion-satisfaction I experience every time I
visualize the formal solution of a new piece encourages me and reinforces me in moments of doubt.
In contrast to the motifs I have worked with before where the fundamental difficulty was in finding the
correct expressive language, with the Old Testament, each piece is a new challenge. The interpretation
of each passage that I would like to make bears no relationship to the solutions of the previous pieces
nor will it be relevant for the following works. This has required an enormous and constant exertion of
creativity.
The preparation of this exhibit in Jerusalem has obliged me to take the necessary distance to observe
and analyze what I have completed so far. After some reflection, what I can say is that it fills me with a
profound satisfaction and renews my motivation to continue this path which will be long and demanding
and will require persistent effort.
At this point I would like to express my deepest gratitude to the people who have contributed to making
this exhibition in the Bible Lands Museum Jerusalem a reality.
To Pepe Neiras, who initiated everything, my friend and colleague in this journey and who together with
Pepe Matas introduced me to David Azulay. David was finally able to pull strings and establish contacts
with the determination and generosity that only friends offer.
To Joaquim, alias Quim, who has been at my side since the beginning of time and has supported
me regardless of the circumstances in the role of big brother â&#x20AC;&#x201C; although he is younger. After a long
conversation, it was he who encouraged me to make this series. For everythingâ&#x20AC;Ś...thank you Brother.
To Linda, I should probably begin by apologizing to her for being the person by my side who suffers all of
my vicissitudes, but I will do it privately. Publicly I would like to thank her for her devotion to our cause,
her efficiency and her intelligence but above all for loving me almost as much as I love her.
Manel Alvarez

This society of ours, so prone to bestow praise on banality, is increasingly bent on evaluating culture
in quantifiable terms. As if it were a mere commodity subject to the laws of supply and demand, art is
reduced to just another form of industry, trade or business, and the compulsion to turn it into a form of
entertainment is rife. Those artists who withstand the onslaught do so with great difficulty, forced to bow
to the dictates of private interests. In the face of this panorama, Manel Alvarez stands defiant; giving
way only when his sculpture, or pedestal, so requires, and only then. Minds will not be changed. I have
known this madman for forty years.
On my journey to see him, I gaze through the train window, spellbound by the magnificent Empordà
scenery. When I arrive at his studio-workshop his sculptures, which pepper the landscape, form a
different and unusual scene, lying interspersed among holm-oaks, firs and bushes. Cranes, trucks and
containers disrupt the harmony and silence of the place. Linda takes the last photos. He turns to say
that it all has to be sent off to Jerusalem by the end of the month. I note that he is tense and tired; he’s
fought hard, and alone, as always. The heavy bags under his eyes are a tell-tale sign of the months of
lack of sleep and, no doubt, the sheer excitement of the creative process. A sudden harsh cry startles me
and shakes me out of my abstraction. He strides over to a fork-lift operator and demonstrates personally
how to move the piece without damaging it. Manel’s creative spirit does not keep him from doing the
more menial tasks when necessary. Everything is all right; nothing ever goes wrong because he is ever
vigilant. Today, however, I note that he is captive to the kind of excitation brought on only by very
singular occasions. He is well aware that the collection of works shortly to be shipped to Jerusalem is the
most important of his life.
Wood, aluminium, marble, granite, iron, bronze, brass, slate, basalt, limestone, travertine... this man
works with all kinds of materials. Only an expert is capable of understanding the degree of complexity
required to master such a range in the way that Manel does – having to venture to Carrara, to Brazil or
wherever necessary to hand-pick the materials and arrange the specialised transportation facilities. Then
the long process of creating the finished product. Only his technical and mental maturity can confer
such personality on his work. It is a quality of Manel’s work that has long been evident in the pyramidshaped heads, the busts of the series dedicated to Africa and the cylindrical concavities. These are his
personal contributions to the generation of artistic language in a narrative and aesthetic key. But, in
addition to the formal representation, his work contains beauty – a fundamental beauty that excludes
neither force nor character, nor representation when the intention of art so requires.
The outcome is a powerful combination, of difficult synthesis, which possesses the incorruptible
solidness of a block of marble, since the author – also incorruptible – has a moral commitment to his
task.
There are those who, on contemplating the work, retain only the beauty and venture no further. They
say it is nice, pleasing, attractive, light... they merely scratch the surface. They see well-handled and
well-worked material that produces a pleasant effect. They may even appreciate that the solidness that
permeates the work neither undermines the lightness nor perturbs the rhythm. This is all true; they
are beautiful sculptures because they are technically well executed. But to stop at this is to leave a
stone unturned. Beyond the fine treatment of the material and the technical expertise there lies a soul
and a commitment – and the inseparable sense of personality. If I did not believe this man capable
of absolutely anything, I would be unable to comprehend how, now, he has dedicated half his life to
creating a series on the Old Testament. What compelled him to do such a thing? Sit back, reader, and
listen to Manel Alvarez.
“I’ve been working on this for seven years. I needed to move forward, to take on a new, difficult, risky
and powerful series. I began to think about the idea of myths. Suddenly the figure of Jesus came to
my mind. As a child, I had read the Scriptures and later I worked on religious imagery, of a figurative
tendency, in training workshops. Setting to work now on the Old Testament seemed to me a very
ambitious idea – and a risky one. Some people believe that it is improper to represent images. It may be
improper to create an image of God, but we may also see Him through his deeds and results. I admit
that it is a delicate subject. I am also aware that the degree of ignorance between cultural groups is
too great. That’s why I re-read the Bible and enrolled in an academy to learn Hebrew. I received much
help from the academic rabbi Ruben Sternschein to understand these things. I knew that these efforts
12

would enrich my work. Seven years have passed but I haven’t tired one bit. I made no specific choice
of materials; the only factor I considered in this sense was religious purity. For this reason, I decided
to make Noah’s Ark with Carrara marble. Joseph’s nobleness also demanded the same treatment. I
oblige myself to be respectful of the symbols and to employ formal and aesthetic interpretations which
are in tune with those symbols represented. The sculpting and modelling solution is both formally and
conceptually freer since I don’t impose any conditions upon myself. It’s my work and I do it as I see fit.”
“This collection of works is, without doubt, the one which has required my greatest effort and also the
one from which I have learned the most. The work I have done with bull-fighters, Africa, sports-people,
hippies and so many other series all involved, above all, a formal conception. That is, the solution lies
only in the sculpting and modelling. In contrast, here, each chapter or verse of the Bible is different
from the previous one and that obliges you to make a complementary effort since what you did before is
of no use now. It is a constant creative effort which is fantastic because you are permanently in search of
ways to interpret anything from a battle, a punishment or the fall of a city’s walls to religious principles,
morals or a particular approach. It’s fascinating – so much so that I see no end to it. I just don’t feel
like bringing the series to a conclusion despite the fact that I am confronted with even more problems.
Indeed, this very fact appeals to me.”
“Isaac’s sacrifice has interested me for some time and I have been trying to get my head around it. The
role of the father, the acceptance of the son, the symbolism of the Burning Bush which does not burn;
all these things need to be reflected. But how? I still haven’t worked it out. There are moments when
you think you’ve got it, then you realise you haven’t. Another problem that I wrestle with concerns the
Ten Commandments. The meaning of the commandments must be conveyed, but without appearing to
give lessons. It is all more subtle and complicated: I have to explain a meaning in volumes. That is the
essence of sculpture, naturally. And I have yet to find a solution that satisfies me, mainly because I don’t
want to cause an impression merely through the use of monumental size. Art demands more than that.
This is why the Ten Commandments don’t form part of the collection. But I’m working on it. I’m not
prepared to give in nor declare myself incapable. I search and search for a worthy portrayal and I will
find one, but I don’t know when. I want to continue working on it because I feel confident with what I’m
doing; it fulfils me.”
Manel Alvarez is a proud artist, not at all arrogant. Stubborn but receptive. Like a sponge when it comes
to satisfying polyhedral curiosity. His sense of dignity keeps him from complaining, ever, about anything.
He still believes that he must do what his conscience dictates. Follow the straight and narrow path laid
forth by his commitment to the work, the materials, his personal code and to the canons of sensibility.
A commitment to himself. It’s true, he’s mad. But nothing we can do is going to change him now.
When Linda looks at him I recognise in the sweetness of her expression a mixture of admiration and
tenderness. And a hint of preoccupation. She knows that her husband will never, ever, ask anybody for
anything. And she also knows that he, like his work, deserves a gesture of some kind.
The man’s personal integrity, the moral greatness of his character and his infinite talent as an artist
inspire my words. Because this is what I truly believe. And that is why I vehemently and respectfully ask
you, reader, to prepare yourself for the adventure which is about to unfold. The wonderful adventure
of following the seductive path of Manel Alvarez’s work. A path that will not only delight you with
emotions, pleasures and sensuality but also lead you into the exclusive realm of privilege. It is a kind of
VIP lounge for the soul where – far from the fad of quantification – are to be found goodness, harmony,
intelligence, effort, beauty and talent. These are the confines of qualification. When contemplating
these sculptures, none of these characteristics should be superfluous in the spiritual baggage of the
lucid observer. You will be in need of each of them in order to take in the emotions which pervade
these works. They are the essential tools that will allow you to experience to the full the passionate
communicative act that only art can prompt.
And to see ourselves reflected in the gesture that, like Linda, I, from a most elemental sense of justice,
also exhort.
Joaquim Maria Puyal i Ortiga

Sculpt the Bible? But if it is exactly what the Bible forbids in the second commandment “You shall not
make for yourself an idol . . .” (Exodus 20:4).
Nevertheless, in the same book, the Bible considers the visual artist Bezalel a wise man of divine spirit,
precisely because of his artistic talent. It is as if he were the receiver of a divine mission to visually
express sanctity (Exodus 3 1: 1-4). The solution to the contradiction can be found in the words of the
prophet Hosea: “...We will never again say ‘Our gods’ to what our own hands have made.. .” (Hosea
14:3). What we cannot do is deify. Gods cannot be sculpted. The artist must not become a god-creator
of gods. A true creator must not consider his work divine. But he can, and is encouraged to, inspire
divinity in humanity through his work - use his talent to evoke spirituality, aesthetics, reflection and
ethics in his audience. Visual artwork of this type is not only permitted, it is promoted by the Bible. The
work of Manel Alvarez is among these. Because it does not tell or solve, but inspires and suggests. A tree
of science and knowledge and a tree of life crossed by both horizons or suns, ascending or descending,
that add the vital energy of everything that comes from passive eternity and is introduced to earthly
finiteness. The tree of life has an element of natural life and the tree of knowledge the compartments
of order and system whose rigidity could pose a threat. A door ajar whose candelabrum does not only
illuminate, but also reveals light and darkness, sky and desert. It is covered in hard, solid stones that
portray the ephemeral nature of the desert.
Joseph and his brothers are recognisable by their clothes and shapes but their faces and their feet
are not clear. Just as in the dynamism of the story. It is the reader of the Bible and the viewer of the
sculpture that defines them according to what is being experienced alongside the text or the sculpture.
The dwelling that represents the temple houses a dynamic spirit that allows the viewer to create and recreate because it conceals and reveals parts, just as the shrine did on its journey through the desert.
Noah’s Ark surrounded by human footprints and presented as an assemblage of archaeological finds that
observe a memory while inviting its discoverers to rewrite it. The first day of Exodus begins to reveal its
characters and settings (the palace, the waters and the basket carrying Moses), but it leaves the story
open. Moses’ basket reflects in its shapes, textures and colours the contrasts that characterised his life
and calling.
The door of Pesaj or Easter, marked like on the night of the Exodus, is on a transverse slope, perhaps
indicating the interaction between “the outside and the inside” that will later be represented by the
mezuzah that Jewish families fix to the door frames of their homes in hopes of bringing the highest
standards in from where they are to where they are not.
A tower of Babel whose diversity opens up while its ambition dries up. Its floor of concentric circles
perhaps suggests sharing while at the same time implying separation in multiculturalism. Languages,
like cultures, walk parallel but not identical paths.
A golden calf, shiny on the outside but at the same time mediocre, discontinuous, supported by points
without dimension, without strength, without a real core, without the divine spark. A work that knows
how to open up, suggest and inspire like the humility that is only achieved by those who use their
creativity to become instruments.
Ruben Sternschein

Academic Rabbi

17

Manel Alvarez - Art influenced by the past in contemporary language

The themes for many of the monumental works by Manel Alvarez come straight from an ancient holy
text - The Bible. Alvarez’s works are meant to leave their mark for future generations, creating a cultural
and historical bridge between past, present and future worlds. It is in this light that Alvarez’s work
should be viewed as a continuation and a natural additional to the many generations of biblical artwork.
The works of Manel Alvarez are symbolic interpretations of events and stories of daily life, past and
present. More sculptures, paintings and other works of art have been influenced by The Bible than any
other book ever written. According to Professor Gila Balas, the Bible has not lost, over the years, any of
its significance, importance, and religious relevance for most people. Since the introduction of the Bible
to Europe, Christian artists as well as non-religious artists have constantly and consistently used the
Bible as an inexhaustible font of inspiration and ideas. The works of these artists were heavily influenced
by Christian mythology, both in form and interpretation. Such are the works of Manel Alvarez. Indeed,
a quick glance at his works Tower of Babel, The Tree of Knowledge, The Golden Calf or Tabernacle
reveals that these works indicate a contemporary design process and a direct connection with current
architectural language.
Because of the deeply personal nature of the biblical stories, these works of art were accompanied by
an overtone of the period and the country in which they were created. It is because of this that there
is a great diversity in perception and understanding of the subject matter, as well as in design and use
of materials. Manel Alvarez’s sculptural work is characterized by the combined use of stone, iron and
wood, and is exceptional in its gentle poetic intensity - a combination that is evident in the Spanish art
scene of the twentieth century, and is also expressed in the works of artists such as Picasso and Chillida.
Despite all this, it is astonishing to be able to find a certain uniformity in all of the artist’s interpretations
and his vision on the subject. The source is strong and impressive, which explains its being in continual
existence. It is the source that links together, combines and connects the various versions and
descriptions with all the biblical themes throughout the ages.
The biblical characters are used as symbols, symbols with deep meaning, religious and human, and
as such they continue to exist and survive. This polarity, which is integrated in harmony in such a
remarkable creation, is undoubtedly one of the most important elements of the power and liveliness
of this book of art. The stories are perhaps transitory - they are facts that existed once - but their
being a symbol, makes them last forever. It is in this manner that it becomes possible to understand
the unique design of the tribal figures sculpted by Manel Alvarez. The sculpture “Joseph and his
Brothers” is composed of different characters that look similar at first glance. A second look reveals the
differences. The figures possess no head, and in its place is a surreal spire, creating a massive impact
tough impression, rational, a combination of physical strength with a sense of struggle for survival and
protection. There is much attention to detail in the design of the figures’ robes, in which the influence
of mythical Greek sculpture is evident. In each of the tribal figures Alvarez is able to find a characteristic
symbol of the typical uniqueness of the character. These characteristics are a recurring theme from
Alvarez’s previous works, as in the series of works Africa in which sculpted figures wearing a protective
vest represent strength and determination.
It is interesting that although the choice of biblical subjects is apparently a random one, all the figures
chosen by Alvarez are massive, powerful male figures. Alvarez’s works are not illustrations of biblical
stories they are inspired and are holding their own identity by using the Bible as inspiration, in itself
interpretive art.

18

Alvarez’s sculpture The Tower of Babel is a large-scale sculpture, a giant rising into the sky, passing to
the viewer a sense of immediate power, extraordinary power “stronger than life.” Along with feelings
of admiration, the viewer may also experience a sense of fear and anxiety. Alvarez creates a working
sculptural environment in which he treats the subject of language, or lack of language, and creates a
series of anthropomorphized figures of letters. The connection between the tiny figures and the power
of the huge tower endows the work with a system of dramatic interactions between tiny human - huge
non-human structure. On the top of the tower are drawn the scriptures, as if invisible, the entire
shape creating a sense of a cone rotating around its own axis, similar to the mythical sculpture by
Tatalin, a symbolic example of perpetual motion. Alvarez uses and integrates advanced scientific form
and an icon in the design of a historical narrative and in doing so creates a connection between past,
present and future.
The sculptures Tree of Life and Tree of Knowledge, symbolizing the dictation of life following
Adam’s original sin, were sculpted by Manel Alvarez with impressive virtuosity, using contemporary
architectural motifs. Both square-round structures are bisected by a horizontal line that passes through
their bodies with extraordinary dramatic force, creating an ambiguous reference for the observer.
On the one hand, the trees are a reference to the link between nature and the above-below relation
between man and God, while from a personal aspect there exists and is created in the observer, the
little man standing before them; a sort of human empathy. This empathy, in the Tree of Knowledge,
transforms the edifices wherein are contained the structures of life, into surprising drawers of emotion,
and in the Tree of Life the pole directed upward is transformed into a human scale weighing the
difference between good and evil.
Many artists attempt to provide answers to questions that the biblical text lacks. Questions such
as who were the biblical figures, and what did they look like? In Judaism sculpture was banned
because of the problem of realization, the prohibition of idol worship, and the concern that the
spiritual image of mythical characters would be minimized. Through art in general and sculpture in
particular the ancient biblical stories can be granted a new interpretation, often with a contemporary
touch of the times. The provocative sculpture of The Golden Calf is given new meaning by Manel
Alvarez. With impressive minimalism he is able to construct an impressive body of the animal using
massive triangular shapes, creating work that evokes a strong sense of wonder. The great power of
the sculpture is that which makes it so significant and dangerous, the very same thing that biblical
scripture seeks to achieve with words.
Esti Drori | Doron Polak

This catalogue was published in conjunction with a special exhibition held at the Bible Lands Museum Jerusalem:
Inspired-Manel Alvarez on the Bible
Jerusalem, April 7, 2011

www.manelalvarez.com

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means , electronic, mechanical,
photocopying, recording or otherwise, without the prior permission of the publisher. The book shall not by any way of trade or otherwise, be lent, resold, hired out or
otherwise circulated without the publishers prior consent in any form of binding or cover other than that in which it is published.
漏 Estudi La Seca. Prolongaci贸 C/ de les Eres S/N, 17465 Saus.

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The Old Testament

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24

Babel Tower 2004

Genesis xi: 9 “The Lord mixed up the language of the whole world there.
That’s why the city was named Babel. From there the Lord scattered them
over the face of the whole earth.”

I will extol the LORD at all
times; his praise will always be on my lips.”

Bardiglio marble and aluminium 64 x 34 x 9,5 cm.
32

33

34

Alef 2009
Belgian black marble and iron
52,5 x 35 x 11 cm.
35

36

Alef 2004
Belgian black marble and Carrara marble
98 x 17 x 45 cm.
37

Efod 2010

Exodus xxxix: 2 â&#x20AC;&#x153;They

made the ephod of gold, and of
blue, purple and scarlet yarn, and of finely twisted linen.â&#x20AC;?

Belgian black marble, Persian travertine and iron 64 x 33 x 10 cm.
38

39

40

41

Efod 2011
Red Persian travertine and iron
72,5 x 37,5 x 11 cm.
42

43

44

45

Tribe of Reuben “Water” 2010

“Let Reuben live. Don’t
let him die. But let his people be not few.”

Deuteronomy xxxiii: 6

Belgian black marble 58 x 49,5 x 39 cm.
46

47

48

49

Parting of the Waters 2009

â&#x20AC;&#x153;...and the Israelites went through the sea on
dry ground, with a wall of water on their right and on their left.â&#x20AC;&#x153;

Exodus XIV: 22

Aluminium and paint
50

51

52

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Wandering the Desert 2009

Numbers XIV: 33 â&#x20AC;&#x153;Your children will be shepherds here for
forty years, suffering for your unfaithfulness, until the last of
your bodies lies in the wilderness.â&#x20AC;?

Wood, iron, paint and sand

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55

56

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The Golden Calf

2004

Exodus xxxii: 1 “The people saw that Moses took a long time to come down from the mountain.
So they gathered around Aaron. They said to him, ‘Come. Make us a god that will lead us. This
fellow Moses brought us up out of Egypt. But we don’t know what has happened to him’.”

I Samuel xi: 15 â&#x20AC;&#x153;So all the people went to Gilgal and made
Saul king in the presence of the LORD. There they sacrificed
fellowship offerings before the LORD, and Saul and all the
Israelites held a great celebration.â&#x20AC;?

Joshua Vi: 20 â&#x20AC;&#x153;When the trumpets sounded, the army shouted, and at the
sound of the trumpet, when the men gave a loud shout, the wall collapsed;
so everyone charged straight in, and they took the city.â&#x20AC;?

Carrara marble and steel 1.500 x 250 x 125 cm.
90

91

92

93

94

95

Jericho 2008
Carrara marble, granite and iron
13,5 x 150 x 34,5 cm.

96

97

98

99

100

101

Moses 2003

â&#x20AC;&#x153;After that, she could no longer hide him any longer. So she got a basket that
was made out of the stems of tall grass. She coated it with tar. Then she placed the child
in it. She put the basket in the tall grass that grew along the bank of the Nile River.â&#x20AC;?

Exodus II: 3

Belgian black marble and Carrara marble 11 x 74 x 25 cm.
102

103

104

105

106

107

Moses 2009
Bolondo wood, iron and aluminium
350 x 70 x 69 cm.
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109

Tree of Life 2008

â&#x20AC;&#x153;The Lord God made all kinds of trees grow out of the ground. Their fruit was pleasing
to look at and good to eat. The tree that gives life forever was in the middle of the garden. The tree
that gives the ability to tell the difference between good and evil was also there.â&#x20AC;?

Genesis II: 24

Bolondo wood, iron and aluminium 550 x 500 x 58 cm.
110

111

112

113

114

115

Tree of Knowledge 2010

Genesis iii: 6 â&#x20AC;&#x153;And the woman saw that the fruit of the tree was good
for food, and pleasing to the eye and also desirable for gaining wisdom.â&#x20AC;?

Iron and aluminium 650 x 500 x 50 cm.
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121

Exodus First Day 2004

Exodus ii: 10 “When the child grew older, she took him to
Pharaoh’s daughter. And he became her son. She named him
Moses. She said, ‘I pulled him out of the water.’ ”

Iron and bronze 25,5 x 64 x 27,5 cm.
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124

125

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Tribe of Gad “Tents” 2007

Deuteronomy xxxiii: 20 “May the One who gives Gad more land be
praised! Gad lives there like a lion that tears off (enemy) arms and heads,”

â&#x20AC;&#x153;And God remembered Noah and all the wild
animals and the livestock that were with him in the ark, and he
sent a wind over the Herat, and the waters receded.â&#x20AC;?

Genesis viii: 1

Pizarra and bronze 8,5 x 81 x 50 cm.
152

153

154

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156

157

Joseph 2007

Genesis xxxvii: 16

“And Joseph said ‘It is my brothers I am looking for’.”

Bronze 42 x 12 x 7 cm.
158

159

160

161

162

Joseph 2008
Estatuario Carrara marble
216 x 61 x 33 cm.

163

Benjamin 2008

About Benjamin he said: “Let the beloved
of the LORD rest secure in him, for he shields him all day long, and
the one the LORD loves rests between his shoulders.”

Deuteronomy xxxiii: 12

Estatuario Carrara marble 192 x 36 x 25 cm.
164

165

166

167

Benjamin 2007
Bronze 34,5 x 6,5 x 5 cm.
168

169

170

171

Joseph and his Brothers 2007 - 2011

Bronze
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174

175

176

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Tribe of Ephraim 2007

Deuteronomy xxxiii: 17 “His glory is like the glory of a bull that was born first to its
mother. His horns are like the horns of a wild ox. He will destroy the nations with them.
He’ll wipe out the nations that are very far away. The ten thousands of men in Ephraim’s
army are like the bull and the ox. So are the thousands in the army of Manasseh.”

MANEL ÀLVAREZ
1945 Born in Sant Feliu de Codines (Barcelona) on August 6.
1959 Completed elementary baccalaureate level in La Salle Bonanova (Barcelona).
1963 Admitted to the Los Salesianos Vocational Schools in Sarriá for clay modelling
and sculpture workshop studies.
1968 Various activities in connection with statue making, religious images, relief
work, busts, and ornamental carving.
Worked professionally in interior and industrial design, leading major projects.
1971 First exhibit as a sculptor in Osona (Vic) and Les Voltes (Olot).
1974 Various individual and collective exhibitions in bronze, terracotta and wood in
Galería Juan Mas and Galería Lleonart in Barcelona.
Awarded various prizes including the Bellas Artes Bienal del Deporte prize.
1975 Travelled to Carrara on a scholarship from the Fundazione Pagani (Milan,
Italy). First contact with marble.
From this point on there was rapid evolution in all of his work through the
gradual discovery of marble.
1976 Created his first public monument, Monument to Coronel Sanfeliu, for the city
of El Prat de Llobregat (Barcelona).
Individual exhibitions in Galería Arturo Ramón (Barcelona) and in Pinoteca
(Tossa de Mar),Galería Lleonart (Barcelona), Fundazione Pagani (Milan, Italy)
1977 Participated in the Arte de Manzanares La Real meetings in Madrid.
1978 First individual exhibition in Belgium (Kunscentrum Vaalbek).
Individual exhibitions in Galería Tolmo (Toledo) and Niavaran Cultural Center
(Tehran, Iran).
1979 Individual exhibitions in Galería Tom Maddock (Barcelona), Galería Lleonart
(Barcelona), Galería Cau Serrat 1786 (Tossa de Mar) and Galería Ferrari
(Brescia, Italy).
Incorporated in his exhibitions prints made in th Cité Internationale des Arts
(Paris, France)

Inaugurated new studio-gallery in Barcelona.
Executed a large-scale piece, Blanca, commissioned by HomburgSaar,Germany.
Created first pieces of jewelry. Designed and created a collection of small
pieces in bronze.
The king of Spain, Juan Carlos I, inaugurated the sculpture of his
grandmother, Queen Victoria Eugenia, in the Red Cross Hospital, Barcelona.
1985 Designed and made trophies for the 1st Regata Almirante Conde de
Barcelona.
Presentation of recent works in his studio-gallery in Barcelona.
Awarded the prize for the 1st Biennal d’ Art, Fútbol Club, Barcelona.
Designed and made a series of sculptures for the Catalan television program
Judge for Yourself (Vostè Jutge).
1986 Created sculptures for the second year in a row for the Regata Almirante
Conde de Barcelona.
Presentation of recent work in his studio-gallery (Barcelona)
Created public sculpture, Mini-Maxi Torso, for the city of Alexandria, Italy.
1987 With Elena de Saro and Galería Art Contemporáneo(Geneva, Switzerland)
participated in the art fair ARCO 87.
Individual exhibition, Galería Lavaggi (New York, USA), Carrara en New York.
Individual exhibition and presentation of his first book in Serie-Disseny
(Barcelona)
1988 Commissioned and created large format sculpture for the Uriach Laboratories,
Bird Spirit, commemorating their 150th anniversary which was inaugurated by
Mr. Jordi Pujol, president of Catalonia.
Individual exhibition in Galería Sant Jordi (Barcelona).
1989 Organized and participated in symposium Sculpture in the Street in El Prat de
Llobregat, with three important guest sculptors, representatives from Hungary,
Japan and Spain, creating large format works.
Installed, Mini-Maxi Torso, for the city of El Prat de Llobregat.

1990
1990 Exhibit and presentation of his second book in Galería Maria Salvat
(Barcelona).
1991 Traveled to Brazil to pursue his work using local materials.
Created a series of small-scale limited edition bronze pieces for Ford-Brazil
titled Personage Triangular and one large scale piece for the city of Sâo Pâulo; a
donation from Ford-Brazil on the 100th anniversary of the Avenida Paulista.
Exhibition and presentation of his third book-catalog in Galería Sadalla (Sâo
Pâulo, Brazil) published by Ford-Brazil.
1992 Inaugurated his studio Estudi la Seca in the former mint building in
Barcelona, a 13th-century building of historical interest.
Individual exhibition in Galería Espaço Escultural (Sâo Pâulo, Brazil).

2000
1993 Created large format piece and small-scale series of the same piece, Porta al
Cafetal, commissioned by Nestlé-Girona for their 25th anniversary.
Designed and made exclusive series of sculptures and prints for Spanish
television show A Trip Around Life.
Created a series of small format marble sculptures for television series The
Best of 93.
Individual exhibitions in Galería DETURSA (Madrid).
Participated in the Biennale di Venezia with an exhibition in the cloister of
Santa Apollonia Art Centre (Venice, Italia)

2002 Coordinated and participated in the second symposium Sculpture in the
Street in El Prat de Llobregat with guest sculptors from Italy and the United
States.
Individual exhibition in Galeria Claudia (Houston, TX, USA).

1995 Created a series of pieces for the Spanish television program A Stroll Through
Time.
Designed an edition of sculptures for the Catalan Radio and Television
Corporation for the 1000th football broadcast in the Catalan language.
Travelled to Atlanta to begin work on the commission Dance of Peace for the
Fundació Universal de la Sardana in collaboration with the Cultural Legacy
Project, the Fulton County Arts Council, and the UGA Sculpture Department,
which would be presented to the city for the 1996 Olympic Games.
Created public work, Art and Science, in homage to Dr. Reventos (Barcelona)
1996 Travelled to Mexico to prepare the exhibits for the coming year.
The honourable Mr. Juan Antonio Samaranch, president of the International
Olympic Committee, inaugurated Dance of Peace at the Fulton County
Judicial Center in Atlanta, GA (USA).
Inauguration of bronze sculpture Covering Spaces on the UGA campus by
Mr. Charles B. Knapp, president of UGA, Carlos del Campo, secretary of the
Foundation of the Spanish Professional Football League, and Vince Dooley,
UGA Athletic Director.
Inauguration by Mr. Antonio Perez, mayor of Espulgues de Llobregat
(Barcelona) of public work Mythical Door.
Created logos (in marble,iron and bronze) and furniture for the set of the new
CNN program in Spanish.
Exhibition of drawings in Galería Maria Salvat (Barcelona).
1997 Created sculpture, Brother-Brotherhood, in granite and iron for the La Salle
Bonanova school in Barcelona in homage to the brothers of the La Salle order.
Began to work on what would be a collection of works about Africa.
Individual exhibition in Galería Trece (Ventalló, Girona)
1998 Created cast iron sculpture Femininity for Villanova i la Geltrú (Barcelona).
Created collection of jewelry Agua for the exhibition Joyas de Escultor
(Vilarobau, Girona).
Individual exhibition in Zoellner Arts Center, Leigh University (Bethlehem,
PA, USA).
1999 Created sculpture Mediteranean for Al Campo in iron, steel and Carrara
marble.
Presentation of works inspired in Africa and his book Africa designed by Bassat
Ogilvy and with commentaries by Lluis Bassat, Manuel Vásquez Montalbán
and Joaquim Maria Puyal, in the Estudi la Seca.
Designed new trophies for the Regata Almirante Conde de Barcelona.
Individual exhibition in Galería de Rosa Pous (Girona).

2001 Created public work, El Bolo, for Sant Feliu de Codines (Barcelona) in iron
commemorating their independence.
Created public work for El Prat de Llobregat (Barcelona) an homage to the
president Lluis Companys in commemoration of his execution.
Installed public work, Lluis Companys, for the Parliament of Catalunya.
Individual exhibition in Galería Trece (Ventalló, Girona).
Individual exhibition Galería Fabrice Galvani (Toulouse, France).

2003 Completed and installed public sculpture titled Empremta i Matriu of
Carrara marble in Viladecans (Barcelona).
Installed public sculpture in El Prat de Llobregat (Barcelona) titled Dialog.
Created sculpture Maxi Torso for the headquarters of Roche Diagnostics
(Barcelona).
Designed and made trophies for the Regata Almirante Conde de Barcelona.
2004 Inauguration of his new studio-workshop and exhibition of recent large
format works in Saus (Girona).
Designed trophies for the Regata Almirante Conde de Barcelona.
Finished working on his series Africa and began focusing exclusively on his
series The Old Testament.
2005 Exhibition of Africa in Espai Volart of the Fundació Privada Vila-Casas
(Barcelona).
Created public work, Inicial, in black Zimbabwe granite and Carrara marble
for Omnium Finance (Toulouse, France).
Created public work, Horizonte Urbano, for Construcciones Riera
(Barcelona).
2006 Exhibition in Franklin Bowles Gallery (New York,USA).
Created public work Dialog II in Roman travertine for Florida Atlantic
University (Jupiter , FL, USA).
2007 Exhibition of sculptures and drawings from the series Africa in Gallery
Cyprus Art; San Feliu de Boada (Girona).
Exhibited large and medium format pieces of Africa in Franklin Bowles
Gallery in San Francisco (CA,USA)
Created public work Dorso di Pigro in Bardiglio marble for the ciy of Stresa
(Lago Maggiore, Italy).
Installed sculpture in large format The Tree of Knowledge in iron and
aluminium for the city of Salt (Girona).
2008 Exhibition of large scale drawings and medium and small format sculptures
in Fundació Josep Niebla (Girona).
Bassat Ogilvy design and edit his book The Old Testament.
2009 Exhibition Franklin Bowles Gallery (San Francisco, CA, USA) Exhibition
Dones, Donetes i Donasses: una visió, Atrium Torroella (Torroella de Montgrí,
Girona).
Participated in the inauguaral exhibition of the Tucson Jewish Community
Center Sculpture Garden (Tucson AZ, USA)
2010 Exhibition of drawings and presentation of book Dibuixos Km 7 Espai d’art
(Girona).

229

Selected Individual Exhibitions

1990

1974 Galería Lleonart (Barcelona)

1990 Galería Maria Salvat (Barcelona) Exhibition and presentation of his second
book.